Drone

Drone music is a relatively new genre that centers around the repetitive and sustained use of a single or multiple notes. The history of drone music can be traced back to ancient Eastern cultures, where the use of drones in religious and spiritual music was common. However, the modern form of drone music emerged in the 1960s. The early origins of drone music can be traced back to the work of minimalist composers such as La Monte Young and Terry Riley. La Monte Young’s piece “The Well-Tuned Piano” is a prime example of early drone music. The piece consists of a single note that is sustained throughout the entire duration of the performance, with slight variations in tone and pitch. This piece is often seen as the starting point for the modern drone music movement. During the 1970s and 80s, the use of drones became more widespread, particularly in the fields of ambient, experimental, and electronic music. Artists such as Brian Eno, Robert Fripp, and Klaus Schulze began incorporating drones into their music, creating ambient soundscapes and textured soundscapes. In the 1990s, drones were used even more extensively in experimental and noise music. Artists such as William Basinski and Thomas Koner created immersive sound worlds using drones, exploring the depths of sonic textures and timbres. The early 2000s saw the emergence of drone metal, a subgenre of heavy metal music that incorporates drones into its sound. Bands such as Sunn O))) and Earth used heavily distorted, droning guitars to create an intense, immersive listening experience. Today, drone continues to be a popular genre in experimental and electronic music. The use of drones has become even more widespread in recent years, with many contemporary composers and performers incorporating them into their work. But why has drone music become so popular? One reason is that it provides a meditative, trance-like listening experience. The repetitive and sustained use of a single note can be soothing and calming, allowing listeners to enter a state of deep concentration. Additionally, the immersive and textural nature of drone music can be used to create powerful, emotional soundscapes that evoke a range of emotions and feelings.

Tim Hecker: Known for his immersive soundscapes, Tim Hecker has became one of the most influential artists in the drone genre. With his unique blend of ambient, noise, and electronic elements, Hecker has released several acclaimed albums, including "Ravedeath, 1972" and “Konoyo”. William Basinski: Famed for his iconic “The Disintegration Loops” series, William Basinski is a master of slow moving, melancholic soundscapes. His music is known for its ethereal and otherworldly qualities, often blending classical instrumentation with experimental noise and drone. FKA Twigs: One of the most talented artists in contemporary music, FKA Twigs often incorporates drone and experimental elements into her unique style. Her 2019 album “Magdalene” features some of her most complex and ambitious work to date, incorporating a variety of electronic and acoustic textures. Grouper: One of the most prolific and critically acclaimed artists in the drone genre, Grouper (real name Liz Harris) is known for her hazy, dreamlike soundscapes and evocative lyrics. Her music explores themes of memory, loss, and alienation, often incorporating field recordings and found sounds. Gas: A project by Wolfgang Voigt, the ambient techno legend, Gas is known for its dense, atmospheric soundscapes, which often incorporate elements of drone and symphonic music. His debut album "Zauberberg" remains a classic of the genre. Bowery Electric: A seminal group in the early days of post-rock and experimental electronic music, Bowery Electric combine elements of drone, shoegaze, and dub music into their unique sound. Their 1996 album “Beat” remains a classic of the genre. Éliane Radigue: One of the pioneers of drone music, Éliane Radigue has been creating immersive, meditative soundscapes since the 1960s. Her music often explores the acoustic properties of sound, exploring the harmonics and overtones of acoustic instruments and electronic equipment. Earth: Founded by Dylan Carlson in the early 1990s, Earth are often credited with pioneering the drone metal genre. Their early albums, such as “Earth 2: Special Low Frequency Version”, feature slow-moving, heavily distorted guitar riffs and thick, droning basslines. Christina Vantzou: A member of the acclaimed avant-garde ensemble Dead Texan, Christina Vantzou has released several solo albums of her own, exploring the intersection of drone, classical music, and ambient soundscapes. Her music often features lush, ethereal string arrangements and field recordings. Stephen O'Malley: A founding member of the experimental metal group Sunn O))), Stephen O'Malley has become one of the most influential artists in the drone genre. His solo work often explores the darker, more sinister aspects of drone, incorporating heavy distortion and abstract soundscapes.

1. "The Disintegration Loops" by William Basinski 2. "Selected Ambient Works 85-92" by Aphex Twin 3. "Geogaddi" by Boards of Canada 4. "Lifeforms" by The Future Sound of London 5. "Music for Airports" by Brian Eno 6. "Flood" by Boris 7. "Halocline Ep" by Tim Hecker 8. "Ravedeath, 1972" by Tim Hecker 9. "E2-E4" by Manuel Göttsching 10. "An Empty Bliss Beyond This World" by The Caretaker 11. "Berlin Atonal: Force Majeure" by Caterina Barbieri 12. "Untrue" by Burial 13. "Loudness War" by Rod Modell 14. "The Tired Sounds of Stars of the Lid" by Stars of the Lid 15. "Dubnobasswithmyheadman" by Underworld 16. "In A Silent Way" by Miles Davis 17. "A Rainbow in Curved Air" by Terry Riley 18. "Requiem for Dying Mothers" by Leyland Kirby 19. "Black Earth" by Bohren & der Club of Gore 20. "Endless Summer" by Fennesz 21. "Autechre: Tri Repetae" by Autechre 22. "Music Has the Right to Children" by Boards of Canada 23. "The Idiots are Winning" by James Holden 24. "Further" by The Chemical Brothers 25. "Kid A" by Radiohead

In "Ocean of Sound: Aether Talk, Ambient Sound, and Imaginary Worlds," David Toop paints a vivid picture of the Drone genre. He notes, "Drone music is an ocean of sound that envelops the listener, encouraging them to let go of linear time and dive into an otherworldly realm." Toop's exploration encapsulates the genre's ability to transport listeners beyond traditional boundaries. Stephen Hill of the renowned ambient radio show "Hearts of Space," discusses the transformative aspect of Drone music in "Awakening Atoms: Music and Mind in the Dialectic of Space-Time." He observes, "Drone music acts as a vehicle for introspection, guiding listeners on a journey inward to explore the uncharted depths of their own consciousness." Hill's perspective underscores the genre's potential for self-discovery. In "Sonic Experience: A Guide to Everyday Sounds," Jean-François Augoyard and Henry Torgue delve into the Drone genre's impact on perception. They write, "Drone music transcends the immediate environment, allowing listeners to become attuned to the subtle nuances and hidden frequencies that often go unnoticed." Augoyard and Torgue's insight reveals the genre's ability to attune the senses. Iasos, a pioneer of ambient and Drone music, expresses his viewpoint in "Inter-Dimensional Music." He states, "Drone music is a bridge between the material and the ethereal, inviting listeners to transcend the mundane and connect with higher realms of existence." Iasos' perspective highlights the genre's spiritual and metaphysical dimensions. In "The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age," Mark Prendergast offers an exploration of the genre's historical context. He notes, "Drone music traces its origins to ancient cultures and rituals, evolving over time to become a modern tool for inducing altered states and contemplative experiences." Prendergast's insight emphasizes the genre's deep historical roots. Pauline Oliveros, a prominent figure in the avant-garde and Drone music scenes, shares her perspective in "Deep Listening: A Composer's Sound Practice." She remarks, "Drone music encourages deep listening, fostering a sense of presence and mindfulness in an increasingly noisy world." Oliveros' viewpoint highlights the genre's potential for cultivating mindfulness. In "The Ambient Century: From Mahler to Moby – The Evolution of Sound in the Electronic Age," Mark Prendergast offers an exploration of the genre's historical context. He notes, "Drone music traces its origins to ancient cultures and rituals, evolving over time to become a modern tool for inducing altered states and contemplative experiences." Prendergast's insight emphasizes the genre's deep historical roots. Pauline Oliveros, a prominent figure in the avant-garde and Drone music scenes, shares her perspective in "Deep Listening: A Composer's Sound Practice." She remarks, "Drone music encourages deep listening, fostering a sense of presence and mindfulness in an increasingly noisy world." Oliveros' viewpoint highlights the genre's potential for cultivating mindfulness.

Musically, drone is often characterized by long, sustained notes or chords that create a hypnotic, trance-like effect. It draws inspiration from a wide range of sources, including Indian classical music, minimalism, experimental music and psychedelia. While these influences are varied, they all share a common emphasis on repetition, transcendence and immersion. One of the key figures associated with drones is La Monte Young, a composer who is often credited with pioneering the genre. His compositions, such as "The Second Dream of the High-Tension Line Stepdown Transformer", were characterized by long, sustained tones that could last up to several hours. Another important figure is Tony Conrad, who developed a unique method of tuning his violin to create a dense and harmonious drone. Other notable artists and groups associated with drones include Brian Eno, Popol Vuh, Terry Riley, Steve Reich and Sunn O))). In terms of record labels, one of the most influential was Sub Rosa, a Belgian label that released a series of compilations called "An Anthology of Noise & Electronic Music". These compilations featured a diverse range of artists, including many who were experimenting with drones. Other labels that helped popularize drone music include Important Records, Kranky, and Southern Lord. The cultural context in which drones emerged was marked by a growing interest in spirituality, mysticism and Eastern philosophy. The countercultural movements of the 1960s and 1970s encouraged experimentation and a rejection of conventional norms. The use of drugs such as LSD and marijuana also helped create a sense of expanded consciousness and opened up new avenues for artistic expression. In this context, the meditative and transcendent qualities of drone music resonated deeply with many listeners. Technologically, drones were made possible by advances in electronic instruments and recording equipment. The introduction of digital technology, in particular, allowed musicians to manipulate sound in unprecedented ways. The use of synthesizers, samplers and effects pedals enabled artists to create a wide range of textures and atmospheres. The ability to loop and layer sounds also allowed for greater complexity and depth in drone music.